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com/about/

THE ADVENTURES OF
PIGEUO AND BRYAN
A PRE-PRODUCTION BOOKLET

BRIEF:

Accelerate Animation wishes to commission early stop motion animators to create a pilot episode for
a TV series which is at least a minute in length. The successful applicant will not only have this
instalment aired, but have funding to complete the series.
Using a minimum of 16 frames per second, the piece must be appealing to those 17 and over, and be
in the horror, comedy or action genres, or a combination of these. The work must contain no more
than four characters and be able to be on television and video-on-demand services after its broadcast.
Music must be used in some capacity. The type and artist is up to the creator, but appropriate
permissions must be sought. Likewise, the film must demonstrate creativity and technical flair-the
lighting must be consistent, the camera steady, angle changes smooth and so on.
For your pilot to be considered, all pre-production documents and the final, edited footage must be
submitted on your website by the 10th JUNE 2016.

CONTENT OUTLINE:
Desolation has become the norm, replacing the once tranquil picket fences of suburbia with the filth
and carnage that was avoided. Flames engulf the buildings as their sky bound limbs reach to the sky
for redemption, their gaping doorways the entrances to Hell itself. Amidst the crackling silence, a
silence definable only by death, a car alarm rings out, alerting no oneleft to perish at the mercy of
the elements, not completely unlike its reanimated owner.
There was a saying, before civilisation regressed to a state past primitive, that some people just want
to watch the world burn. That statement is true, and that is how we first encounter Pigeuo, the twoheaded, sunglass wearing pigeon, and Bryan Wesson, but a mere, irradiated boy; two friends, as
unconventional as they may seem, sat on a bridge overlooking post-apocalyptic Wilpeppershire.
Discarded ginger beer bottles lay next to each of our protagonists, each empty save for the smallest
trickle of the beverage. Vehicles stand in a tangled mess behind them, wounded and broken but still
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awaiting the moment that they are needed. With the sun setting over the city-both literally and
figuratively-Bryan breaks the all-enveloping quiet by noting how he will miss his tasty drink more than
the anything else, a statement which Pigeuo agrees with, before adorning it with further details. The
pair laugh, a sound so uncommon in the New Time that one struggles to comprehend it and instead
interprets it like a foreign language. A joyful, yet gut-wrenching noise.
These thoughts of the once so common cause the duo to reminisce and discuss their first meeting.
And so, a flashback ensues, transporting us away from the bridge and into a dilapidated back room of
a store, where an R.E.M album plays on a loop. Hidden by a desk, and unconscious on the floor, Bryan
stirs, his vision a blur.
A distorted figure stands over him, gradually coming into focus. We see that this is no ordinary person,
no creature of this realm, but a two headed pigeon with sunglasses adorning each face. One stares at
the other, briefly evaluating their opponent. The bird greets the child, using his name, indicating that
he knows him from somewhere. Terrified, and understandably so, the boy gropes for a weapon only
to discover a conveniently placed pistol.
Panicked, he points it at the bird, causing the creature to protest against this bold move. They argue,
trying to discover just what the other is, beyond the obvious. The bickering continues, making them
oblivious to all that surrounds them.
A passage of time goes by before they are interrupted by a loud bang. Startled, they become silent.
Bryans arm drops, his weapon no longer a threat. Pigeuos heads turn towards the doorway, and the
noise continues, albeit at a lower volume. Glancing at each other, the pair decide to move out and
investigate. Putting their tumultuous introduction behind them, they venture into the unknown.
Sneaking out the room, towards the source of the banging, they pass a number of strange items and
destroyed furnishings. The theme of destruction continues as they progress through the location,
implying that a catastrophic event has occurred.
They eventually surface in the front of the building, revealing the structure to be a store of some
description. Stood there is a creature from the deepest recesses of ones nightmares, a gargantuan
beast ravages the area afore them. With four-arms, faces protruding from its stomach and a morbidly
obese frame, it poses a formidable obstacle.
With a sense of power, Bryan shoots him. Contrary to his initial belief, the bullet does nothing,
bouncing of the monsters gut. The boy screams, causing Pigeuo to squawk in fear. The high-pitched
frequency results in the mutants retreat, alerting our heroes to a weakness.
Utilising this knowledge, they use their squeaking tones to melt the creature into a bubbling pond of
matter by singing at their utmost ranges. The evil dissolved, the pair relaxuntil a scuttling sound
alerts them to a new threat. Emerging from behind a pile of rubble, an overly excited hermit
commends the actions of the duo. He stops short, as if he recognises Bryan from somewhere. This
pause is only momentary as the boy, shocked by this mans sudden appearance, shoots him.
After an exclamation, the unlikely allies crowd over the (seemingly) dead individual. They decide to
flee the scene, walking inconspicuously in the opposite direction. As they do this, the deceased stirs,
muttering his revenge and knowledge of Bryan.

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We cut back to the present, resuming our residency at the bridge. This time, however, we look on
from a distance and see the protagonists as silhouettes. Bryan appears to be having a conversation
with a stuffed creaturePigeuo. In a later instalment, we discover that the bird was, in fact,
taxidermied prior to the fallout and is actuality a figment of the boys imagination, an indication of
his declining sanity. He laughs to himself, and tells a joke before the screen fades to black.

ADMINISTRATIVE DETAILS:
The Adventures of Pigeuo and Bryan will be submitted on the 10th June, with the duration being
approximately three minutes. The last factor is subject to change, dependent on script length and
storyboards etc.

CAST AND CREW DETAILS/ROLES:


NAME

CONTACT DETAILS

ROLE

RAYMOND/MONICA 01494*****3
EAST

JESSICA-MEGAN
COLLINS

CONTACT
NUMBER:
074*****996
CONTACT E-MAIL:
9***48@henleycol.ac.uk

KELERA
NAYACAKALOU

CONTACT
NUMBER:
074*****776
CONTACT
E-MAIL:
9***02@henleycol.ac.uk

GEORGIA SCANNELL

CONTACT NUMBER:
079*****992
CONTACT E-MAIL:
9***43@henleycol.ac.uk

DATE(S)
DEADLINE
NEEDED
Owners of the 17th
May 22nd May, not
recording
until
22nd including
location, so will May
contingency
need to be
time.
present during
the
filming
process.
Jessica
is 22nd May, in 22nd May
required
to the
record
the Rotherfield
vocals for the recording
role of Pigeuo.
studio.
Kelera
is 22nd May, in 22nd May
required
to the
record
the Rotherfield
vocals for the recording
role of Bryan.
studio.
Georgia
is 22nd May, in 22nd May
required
to the
record
the Rotherfield
vocals for the recording
role of the studio.
SuperMutant/Hermit.

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LOCATION RECCE:
Type of room/area: The attic of my
Grandparents home,
Location Address: Micklefield Road
Sat Nav Details (Postcode): HP13 7EX
Nearest Train Station:
High Wycombe Station
Amersham Hill
High Wycombe
HP13 6NN
Nearest Bus stop: Micklefield Road
Duration of use: 17th-22nd May, not including
contingency time.
Lighting Information:
There is are fluorescent overhead lights
available, as well as lamps which can be hung
from the rafters or rested on a solid surface.
Torches are on hand as well.

Solutions:
As there are no windows in the attic, I do not
have to concern myself with blocking out the
light to prevent discrepancies between
frames. Batteries will be kept on hand to
supply the torches. The lamps are powered by
mains electricity, although additional bulbs
will be on hand.

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Sound Information:
Solutions:
Whilst the house itself is quiet, being in the attic N/A
means that traffic can be heard. This is not a
concern, however, as my project is stop motion
and does not require the sound to be recorded
on location.
Power Information
Mains plug sockets are available in the attic
itself, as well as an extension lead to power any
additional appliances.
AA batteries have been bought to power the
torches, and a spare battery for the DSLR
camera being used will be purchased.

Hazards
One of the earliest hazards I will face
during production is falling down the
ladder/hatch to enter the attic.
There is also the risk of knocking my
head against the ceiling as the roof can
be rather low at times.
There is the very minimal risk of
electrocution from the open sockets on
the extension lead.
Dropping/shattering lightbulbs will
mean that glass litters the floor.
Stepping on this will result lacerations,
and should be avoided.

Solutions:
The extension lead will always be on hand, as
well as a spare in case one breaks. Additionally,
the charger for the battery of the camera will be
readily accessible so that there is always one
charged and ready to be used. This will minimise
the amount of time that is wasted waiting for
there to be enough power in the appliance; the
more time available to focus on recording the
production, the more time there is to refine,
improve and edit.
Solutions:
I will take care to ascend the ladder
slowly. Likewise, I will carry any
equipment up in separate trips so as
that it does not get damaged, and I do
not get injured.
I will ensure that I keep low and do not
stand up until there is adequate room.
Everything will be stored away from the
lead, especially small objects which
could get lodged in the sockets.
Likewise, I will not touch the actual
sockets until the mains power is turned
off.
I will wear slippers whilst working in the
loft in anticipation for the worst case
scenario. I will also keep a dustpan and
brush and spare bulbs on hand in order
to tidy the mess and replace the
expended item.

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When recording the vocals, I shall use the recording studio at Rotherfield.

Lighting Information:
In terms of recording, lighting is not a key
factor. As long as it is possible to see/use the
equipment, there will be no complaints.
Sound Information:
The studio is sound proofed and there are no
objects which will create any loud noises. There
will be no background noise to interfere with
the recording. Microphones are available for
use to tape the vocals.
Power Information
Mains power is available, and accessible at all
times. This will ensure that the computer and
other equipment has constant power.
Hazards

Solutions:
N/A

Solutions:
N/A

Solutions:
Do not disconnect wires or turn off the mains
power.
Solutions:

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PROPS REQUIRED:
N.B. All props should be prepared and ready for use by the 17th May. This means that I will be able
to immediately start recording and am able to alter the schedule and film later sections earlier, if
necessary.
PROP

SCENE

ACTOR/CHARACTER
USING
Bridge
First and last scenes.
Pigeuo and Bryan will
be sitting on the bridge
talking. They will be
overlooking a burning
city.
Desk
Bryan comes to by a
desk, and it remains in
the background whilst
he and Pigeuo argue.
Pistol
Bryan finds it by his
side and uses it to
shoot at the SuperMutant and hermit.
Small, ruined radio Every scene in the The old radio set plays
(Will be a juke box dilapidated building.
the song Its the end of
lighter).
the world as we know
it (And I feel fine) by
R.E.M on a loop in the
abandoned building.
Front/Back sections of
The bulk of the
the abandoned office.
storyline will occur in
this setting.

DATE NEEDED
17th May

17th May

17th May

17th May

17th May

OTHER EQUIPMENT:
EQUIPMENT
Canon EOS 1200D DSLR Camera
32GB Memory Card
Extendable Tripod
Spirit level for the camera to guarantee a level,
straight shot.
External flash.
Overhead lamp.
Wooden mannequins; these will be the basis for
Bryan
Pom-Pom bird to be Pigeuo.

DATE NEEDED
th

17 May
17th May
17th May
17th May
17th May
17th May
17th May
17th May

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RISK ASSESSMENT:
ACTIVITY
Entering/exiting attic.

HAZARD

RISK
H/M/L

IN PLACE

I will be working Yes.


away from the
opening and shall
ensure that there is a
light on so I can see
every step.

I shall work in the Yes.


area with the highest
roof so as to avoid
any
accidental
bumps or knocks.

Using extension leads and Tripping


over
cords.
the cords and
wires. This could
result
in
lacerations and
broken bones.

Travelling to the recording Getting hit by a


location.
car, if I cycle, and
falling off of my
bike.

As the cords will be Yes.


stretched across the
space, I will ensure
that they are tidy,
taped down, and
visible with as few
chances to trip as
possible.
I will ride on the path Yes.
and will be cautious
of
my
surroundings/traffic.

Working
near
beams/ceilings.

Missing a rung
on the ladder or
falling through
the hatch. This
could cause any
number
of
injuries,
including broken
bones and so on.
low Knocking
my
head on the
ceiling
or
support beams.
Consequentially,
I could cause
damage to my
skull and need
medical
attention.

PRECAUTIONS

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TEAM MEETINGS:
FRIDAY 13th May, 10:30-11:55: Meeting with Jess and Kelera to have a complete script reading. This
will enable everyone to have a solid understanding of their role, what is expected of them and how
best to gain an affinity with the character that they are portraying. By doing this as a group, all involved
will know how to interact with one another.
SATURDAY 17th MAY: Discuss the script with the understudies and ensure that they are happy with
their roles and confident that they can fulfil them to a high level.

CONTINGENCY PLAN:
Primarily, I made a decision as to the understudies for my cast:
NAME
LOUIS SCANNELL

TESSA EAST

GARY SCANNELL

CONTACT DETAILS
CONTACT
NUMBER:
077*****723
CONTACT E-MAIL:
L********l@sky.com

ROLE
Should Kelera not be able to
attend, Louis will be required to
fulfil the role of Bryan. He will be
needed in the Rotherfield
recording studio at 9:00am on the
24th May.
CONTACT
NUMBER: In the absence of Jess, Tessa will
079*****173
adopt the part of Pigeuo. She will
CONTACT E-MAIL:
be required in the Rotherfield
N/A
recording studio at 9:00am on the
24th May.
CONTACT NUMBER:
If Georgia is not available, Gary
079*****721
will be the reserve for the SuperCONTACT E-MAIL:
Mutant/Hermit. He will need to be
G*******l@sky.com
in the Rotherfield recording studio
at 10:00am on the 24th May.

If something prevents the recording studio from being accessed on the 24th May, I will attempt to
postpone this task by a day. Should this to be no avail, the main studio/side room will be used on
Thursday 26th May, from 9:00am. This should help to limit the amount of interruptions and poor
quality of using a classroom, say. As there is the risk of there being an increased amount of background
noise/disruptions, I will add a provisional 30 minutes extra recording time to the main casts section,
and an additional ten minutes to the actor portraying the Super-Mutant.
If the attic becomes unusable during the recording week of the 17th-22nd May, my set will be relocated
to the Studio at Rotherfield as I will be well equipped to control environmental factors, such as lighting,
so as they do not prove detrimental to my piece. Likewise, it will be safe from damage and will not be
moved. In addition to this, a further week will be dedicated to recording to make certain that all shots
are taken in the same conditions and there are no continuity errors.

ISSUES:
I became aware that I would require assistance building the characters of Pigeuo and the SuperMutant. As I had not detailed this in earlier documents, I decided that I should now investigate how
much it would cost for assistance in this area. For a visual artist, a fee of 17.32 an hour is charged, by

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one individual1. As such, I decided that four hours would be sufficient to build these characters. This
added 69.28 to my budget, but meant that I would have a stronger appearance for those featured.
In this instance, my Mother was happy to complete this task.

MODIFICATIONS:
PIGEUO: Initially, Pigeuo was to be created out of Play-Doh with a wire skeleton. Whilst I was
prepared to store him in a plastic container to stop him from hardening, the possibility of him breaking
was raised; with such heavy use, and his fragility, this was a very real threat. As such, and after a
discussion, it was decided that Pom-Poms could be made and sewn together to make the bird. Pipe
cleaners would be used for legs, and googly eyes. This would help to further his psychedelic aesthetic
as well as minimising the chance for breakage. The Play-Doh will still be available, if it is required.
HERMIT: Writing the script, I noted the potential for overstretching myself and consequentially being
unable to meet the deadlines. As such, I decided to cut the lines of the hermit and introduce him as a
non-talking character. He will instead lurk in the background and gaze after Pigeuo and Bryan as they
walk off. This will generate intrigue and allow his motives, history and relation to the protagonists to
be better explored in the next episode. This choice also meant that I am more likely to be able to
adhere to my schedule and keep good time.
CREDITS: As opposed to having standard rolling credits as I initially planned, I decided to have a
montage of photographs showing Pigeuo and Bryan in a variety of different situations. This will
reiterate the light-heartedness and strong friendship that the two share. Additionally, it makes this oft
ignored section engaging and appealing, meaning the cast/crew get recognised for their talents and
contributions.

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SCRIPT:
EXT. EVENING, BRIDGE OVERLOOKING THE DESTROYED CITY OF WILPEPPERSHIRE.
A peculiar two-headed pigeon wearing sunglasses, named PIGEUO, is
talking to an irradiated, deformed teenager called BRYAN WESSON. They
are sat on the bridge and are watching the city burn. They laugh,
before we hear the first legible section of conversation. A small
Polaroid type camera is next to Bryan.
PIGEUO:
(Cool and calm, he is relaxed and nonchalant as he finishes his
story)
And that, Bryan, is why I dont cross the road. Im a pigeon. Not a
chicken. A pigeon.
BRYAN:
(Confused and not believing his friend)
Right. So what happens when you want to cross a road?
PIGEUO:
(Indignant but put out)
WellI fly. I have wings, I am a
BRYAN:
(Slightly sarcastic, but not malicious)
Pigeon. I know. Technically
PIGEUO:
(Hastily changing the topic, looking around)
TECHNICALLY, my mum was roadkill even though you call it a road
traffic collision. TECHNICALLY, you are totally irradiated and
could be causing me to get real freaky. TECHNICALLY
BRYAN:
(A bit tired of the arguing, ready to move on)
I GET it, already.
(SILENCE FOR A BRIEF MOMENT)
Hey, Pigeuo, dyou ever think about when we killed that thing?
PIGEUO
(Whimsically, and ironically with a posh British accent)
Aah. The dawn of the Bromance. The beginning of a new age. Yes, my
dear friendI recall it like it were just yesterday
FADE OUT AS PIGEUO ENDS SPEECH.
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INT. AFTERNOON, A DILAPIDATED OFFICE BUILDING.
The boy who we know to be Bryan is strewn on the floor by a desk. He
is unconscious and has horrible disfigurements. He begins to come to,
rubbing his eyes and beginning to assess his situation. In the
background, Its The End of the World as We Know It (And I feel fine)
is playing.
BRYAN:
(Drowsy and groggy-he is not entirely with it. Mumbles and groans)
PIGEUO:
(Overly happy, somewhat creepily)
Hello, Bryan. Ive been waiting for you.
BRYAN:
(Terrified, he screams. Speaks in a very high pitched voice)
STAY THE HELL AWAY FROM ME, YOUYOU
PIGEUO:
(Feigning seriousness, slightly patronising, he cuts straight into
Bryans speech)
Devilishly good-looking pigeon?
BRYAN:
(Calm and acknowledging)
Wellfor a pigeon, I mean, yeah not ba
(Gradually raising voice, freaking out)
Wait, what? YYoure a freak of nature! A MONSTER!
PIGEUO:
(Pretending to be hurt, sarcastically)
Bryan! You wound me with your words!
(Acting as though he does not care)
And besides. Im not a monster, its hereditary.
BRYAN:
(Confused, taken aback)
What? What does thathow does that work?
PIGEUO:
(Sighs, acting like the answer is obvious)

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It means, Bryan, that the ugly genes were inherited from my father
and I cant help but show them to the world. Unlike the jeans youre
wearing.
(Puts on a fashionista/diva type voice)
Like, seriously, I would not be caught DEAD in them
(Suddenly excited, over the top.)
OOH! Is that chocolate?
BRYAN:
(Hurriedly cutting Pigeuo off, still defensive)
Uhhh, noBut thats not imporWHO the HELL are you?
PIGEUO:
(Sighs, a twinge of sadness to his voice)
Bryan, has anyone told you that you ask too many questions? DONT
answer that. But youre right. My NAME is...
(Takes a deep breath)
Pigeuo Quentin Cassius Montgomery Alfred Elliot Yarrickson the
Third. But YOU can call ME Pigeuo.
BRYAN:
(Sniggers, whilst groping for a weapon)
PIGEUO AND BRYAN:
(Speaking simultaneously and in utter surprise as Bryan finds a
pistol)
Huh. That was convenient.
BRYAN:
(Appears angry, but trying not to seem put out)
Now tell me who you really are!
PIGEUO:
(Takes a deep breath, again)
That was more of a command than a question so
BRYAN:
(Fed up, tired of Pigeuo)
I dont believe this!
PIGEUO:
(Amazed by Bryans response)
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YOU dont believe it? I forgot you had the freakin gun pointed at
you!
(Once again, he attempts to be serious, although a hint of unease
slips into his voice)
Ha! I am but a simple bird trying to aid you on your precarious,
perilous journey through the wastelands of Wilpeppershire, and this
is how you repay me?
The vocals fade out, a ticking noise comes in. This, coupled with the
overlaying images presented on screen give the illusion of time
passing. The two characters appear to be arguing. A loud bang
interrupts them.
BRYAN:
(Whispering and alarmed)
What was that?
PIGEUO:
(Mimicking Bryans fear)
Huuh! I dont know! MaybeMaybe its an Ostrich eating Marshmallow,
or an Elephant seeking revenge for being rejected from Ballet
school
BRYAN:
(Deadly serious)
Or, Wanna check it out?
PIGEUO:
(Smiling, indicating he and Bryan are now friends)
Hell yeah.
A brief pause as Bryan walks towards the door. It is here that Bryan
picks up the polaroid camera.
BRYAN:
(Eager and slightly impatient)
Pigeuo? You coming?
PIGEUO:
(Impressed and surprised at Bryans transformation)
I sure am! Heh. Go Bryan. Im liking this enthusiasm.
INT. LATE AFTERNOON, FRONT OF OFFICE BUILDING. THE SPACE RESEMBLES A
DILAPIDATED SHOP.

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There is silence
stillness.

before

an

impossibly

loud

roar

permeates

the

PIGEUO:
(Stunned and horrified)
HO-LY crap, thats a big mutant.
BRYAN:
(Cocky and somewhat arrogant)
Its not big, youre just short.
PIGEUO:
(Insistent)
NoIts definitely big. And has four arms. And hasI dont
knowReally bad indigestion?
(Calls out to the Super Mutant)
Hey! Buddy! Id see a doctor if I were you.
(Talks quieter to Bryan)
And, if I were you, Bryan, Id think about seeing a mortician.
BRYAN:
(Cool and calm, not fazed in the slightest)
Chill out, Pigeuo, I got this.
There is a bang as Bryan fires the gun. The Super-Mutant roars in fury
as the bullet does nothing.
PIGEUO AND BRYAN:
(Scream)
SUPER-MUTANT:
(Cries in agony and recoils)
BRYAN:
(Smug, breathing heavily and showing signs of relief)
I TOLD you I had it. Everything was under control.
SUPER-MUTANTS:
(Groans, before roaring and resuming its previous rampage)
PIGEUO:
(Terrified but also smug)
I was right, wasnt I?
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BRYAN:
(Absolutely terrified)
NOW ISNT THE TIME!
PIGEUO:
(Confident and slightly cocky)
You are correct, Bryan. Now isnt the time.
(Quietly)
Which is just you admitting that I was right.
(Boldly, and with no sign of fear)
I, however, have a solid plan which will save YOUR butt once again.
BRYAN:
(Can barely get his words out for fear)
Again? What do you mean again?
PIGEUO:
(Slightly irritated but overwhelmingly pumped)
Again, with the questions, Bryan. Follow my lead
As the Super-Mutant approaches, Pigeuo begins to sing Whats Up? by 4
Non Blondes. After a few seconds, Bryan joins in. The creature lets
out a final agonised moan before melting into a pool of gunk.
BRYAN:
(Breathless but proud)
Well, that was easy.
The pair walk into the distance.
FADE OUT.
EXT. MID-EVENING, BRIDGE FROM THE START OF THE PIECE.
The two are still sat on the bridge, but Pigeuo is not moving; we see
him as his taxidermied self. We are looking from a distance, meaning
that the pair are silhouetted.
BRYAN:
(Content and upbeat)
Heh. That was a good day, huh? In hindsight I guessAt the time
almost being dinner wasnt cool but now
A moments pause.
BRYAN:
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17
(Laughing)
Yeah. Good one, Pigeuo. Oh. Oh, heres one.
What do you call a bird that runs into a lawnmower?
A brief period of silence.
BRYAN:
(Slightly put out, he is confused and sombre)
No. Other than dead.
Silence.
BRYAN:
(Stifling laughter)
You ready? Shredded tweet! Get it? Tweet, as in
The song Crawl Out Through the Fallout begins to play softly, gradually
getting louder.
BRYAN:
(Bursting into full blown laughter)
FADE OUT
Over the end credits, a variety of snapshots are seen of Pigeuo and
Bryan. They seem happy and in a plethora of different situations.
There is a sense of odd normality to these post-apocalyptic
adventures.
FADE OUT

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N.B. Not all props/sets were ready so I was forced to improvise. Come the 17th May when filming is
scheduled to begin, everything that is required will be prepared to be used.

1. A long shot pans into Pigeuo and


Bryan who are sat on a bridge. They
are talking and a camera is next to
STORYBOARD:
Bryan. All around them is a burning
city that they are looking onto. The
lighting will be quite dark to indicate
that it is early evening.

2. A full body shot of Pigeuo is seen as we hear


the first section of conversation, And that,
Bryan The lighting will be the slightest bit
brighter across the face of Pigeuo so we can
see his colours and form in the best, clearest
way possible. There only sounds in the
background are crickets, and the like.

For the first time, in a mid-shot, we see that


Bryan is disfigured and has been horribly
effected by the radiation of the fallout. He
speaks the line So what happens He will be
the smallest bit shadowed, unlike Pigeuo. The
crickets etc., will continue to be heard in the
background.

A two shot of Pigeuo and Bryan shows how


different they are from one another, but also
how confident they feel in each others
presence. The crickets are still heard, but they
are quietening down slightly. Pigeuo starts
this section with Well I fly.

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A mid shot of Pigeuo as he begins the


sentence Technically The lighting will have
darkened slightly as if to suggest it has
become overcast. The crickets and insects will
have stopped completely now.

A mid-shot of Bryan as he says I GET it The


sky will lighten again to reflect how the
mood has been lifted, and the crickets and
other background noises will begin again.

After a brief silence from Bryan, and in a two


shot, but so the background noises are still
heard, he asks if Pigeuo ever thinks about
.when we killed that thing. As he says this,
the noises go silent with the exception of a
tumbleweed type breeze.

The two shot moves to look down on the


pair as the background noises resume and
Pigeuo responds to Bryans question, Aah.
The dawn of the Bromance The lighting is
rather tranquil and peaceful; the burning
city in the background will look almost
beautiful.

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Another long shot pans in, and we see Bryan


sprawled on the floor by a desk of sorts. Its
the End of The World as We Know It (And I
Feel Fine) is playing from a juke-box that will
be situated by the back wall. Other than
this, the room is silent. Bryan is seen stirring
slightly. Throughout this scene, the lighting
will be somewhat musky.

A mid/close up of Bryan shows him stirring


further and groaning. He is not entirely
conscious yet and is very disoriented. The
song continues to play in the background.

An extreme close-up of Pigeuo will be seen.


He says Hello, Bryan over the song that
is still playing in the background. He does
not move as such, but stares inquisitively at
Bryan.

This cuts to the same extreme-close up of


Bryan. He is terrified of the creature in front
of him and responds to the situation by
telling Pigeuo to Stay the Hell away The
song continues to play, and the lighting is
still musky.

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A mid-up shot of Pigeuo is seen as he


describes himself as devilishly good
looking. Again, the song is playing, and
the lighting is musky as if the room is dank
and has not been used for some time.

An extreme close up on Bryan as, stunned,


he responds to Pigeuos comment by
saying Well, for a Pigeon His head
moves ever so slightly, as if he is agreeing
with himself. The song still plays.

As Bryan realises what he is saying, we cut


to a mid-shot where he begins Wait?
What? He shakes his head, and moves his
arms around to his side slightly. The song
is still playing, and the light is consistent.

An over the shoulder shot shows Pigeuo


pretending to be hurt by Bryans words as
he exclaims Bryan! You wound me with
your words! He moves around slightly, as if
shaking the insult off. The song continues to
play.

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A close up of Bryan as he is confused and


bewildered by what is happening. He
moves his head a little bit and says What?
What does that His arm also raises
slightly and the song still plays. The
lighting remains unchanged.

A downwards two shot shows the pair


facing each other. Bryan squirms a little
while Pigeuo speaks; It means, Bryan
Pigeuo waddles around a little as the music
still plays in the background. The lighting
has not changed.

A mid shot of Pigeuo shows him


sarcastically commenting on Bryans
clothing, Like, seriously Again, the
lighting is the same, and the music
continues to play.

The camera, and Pigeuo move out slightly


so we see him more as he asks Bryan if
thats chocolate. He moves excitedly and
looks eagerly on. The song is still playing
and the lighting has not been altered.

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Bryan replies quickly, Uhhh, no as he


shuffles uncomfortably. The camera will
look down on him slightly. The song still
plays, and the lighting does not change.

A full body shot of Pigeuo as he tells Bryan


that he asks to many questions. He turns
away before turning back, quickly. The
song is still playing in the background.

A mid shot of Pigeuo as he recites his


name. He is in a glow as he says this. The
music is still playing, and he does not
move as such; his sole focus is getting his
name out in one go.

Bryan sniggers and gropes for a weapon


as we see a close up of his hand. The song
is still playing on a loop in the background,
and his hand will be shrouded in
darkness.

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A birds eye view shows the two in


relation to each other as they
simultaneously say that was convenient
as Bryan brandishes a gun. The lighting
has returned to normal and the music is
still being played.

Bryan points his gun directly at Pigeuo


and demands that he tells him who he
really (is). The lighting is still normal and
the song can still be heard in the
background. Bryan moves his arm up and
down as if to provoke a response from
Pigeuo.

A mid shot of Pigeuo as he responds by


saying how it was more of a command
than a question He tilts his head to
either side. The lighting remains the
same, and the music still plays.

In a close up, Bryan say I dont believe it,


and moves his head and body to face his
right hand side. The lighting has not
changed, but the music can still be heard.

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A shot reverse shot of Pigeuo criticising Bryan,


before going on to state his purpose. Pigeuo
jumps about slightly and Bryan squirms when
we see him.

Various images are overlaid to convey a


passage of time passing. The music stops,
and a ticking commences. The two appear to
be arguing and a plethora of shot are used.
The previous song has faded out.

A loud BANG stops the argument as Bryan asks


What was that?. He has wriggled around
slightly, and appears uncomfortable. R.E.M are
heard playing again, from a random point, and
the lighting remains unchanged.

Pigeuo is sarcastic as he answers Bryan. He is


looking about the room, making exaggerated
actions with his wings. The music continues
to play, and once again, the lighting has not
changed.

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Slightly zoomed in to more of a close up,


Bryan asks Pigeuo if wants to check it out.
He begins to shuffle restlessly and the music
can still be heard. He also starts to stand up.
The lighting is no different.

As Pigeuo says Hell Yeah! we see a close up


of Bryan grabbing the Polaroid camera from
the desk and putting the strap around his
neck. The music is still playing and the
lighting is the same.

A mid shot of Bryan as he asks if Pigeuo is


coming. The music is still playing and the
lighting remains the same.

An over the shoulder shot shows Pigeuo


reply I sure I am Before the pair walk to
the exit and through the doorway. The
music gets quieter the further from the
jukebox they get, before it stops completely
in the other room. The lighting gets slightly
more twilight like.

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Having left the previous room, the two


encounter the Super-Mutant. Pigeuo starts
Ho-ly crap, thats a big mutant. There are a
few natural, background sounds and the
lighting is the same.

Looking down on Pigeuo and Bryan as they


have a brief discussion about what is afore
them. Bryan begins by stating that Its not
big as they have a short conversation. The
sounds are the same with the exception of
quiet heavy breathing from the mutant. The
lighting has not changed.

The camera zooms in slightly (a bit more than


in this image) as Pigueo says to Bryan And, if
I were you Again, the sounds and lighting
are consistent with the previous frame-set.

We continue to look down on the trio, this


time from behind. Bryan tells Pigeuo to chill
out as he fires the gun. This weapon
makes a loud bang, and the other noises
(animals, insects etc.) cease. The lighting,
however, does not change.

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There is an extreme close up on the SuperMutant as he roars in fury-the bullet does


nothing. The background sounds have not
resumed, although the lighting remains
unchanged.

This shot will be changed to a close up of


Pigeuo and Bryans faces. They scream as the
beast begins to walk towards them and is not
effected by the weapon. The sounds and
lighting remain the same as in the previous
shot.

In a mid-shot, the mutant recoils and staggers


back. He cries in agony. Other than this, there
are no noises, and the lighting is the same.

The two back up slightly as relieved and says


(I) told you I had it The sounds pick up
slightly, not intensively, and the lighting does
not change.

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In a full body shot, the mutant roars and


continues on its rampages. It walks closer and
closer to the camera. The sounds stop again,
and the lighting does not change.

A three shot from an angle shows the monster


encroaching as Pigeuo and Bryan back away.
At this point, Pigeuo begins a conversation
with (I) was right The lighting does not
change and there are no background noises.

A mid shot of Pigeuo as he tells Bryan that he


has a plan The background noises are still
not present, although a wind has picked up.
The lighting has got slightly darker.

Bryan is surprised by what Pigeuo has just said


and exclaims again?... They continue to walk
backwards and consider their imminent
demise. The wind is still howling and there is
no change in the lighting.

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We have a mid-shot of Pigeuo from behind.


He says Again with the questions At the
end of his sentence, the beat to a song is
heard coming in gradually. The lighting gets
slightly brighter.

Pigeuo and Bryan begin to sing Whats Up? by


4 Non Blondes to defeat the creature. A
variety of shots are used as Pigeuo and Bryan
bring out their inner rock stars. There will be
no other sounds but the monster groaning
and the lighting will be the same.

The monster lets out one last, agonised moan.


We look down on it as it tries to fight its death.
The background noises pick up a little,
although the wind does not return. The light is
also brighter.

The monster melts into a pool of gunk as


Pigeuo and Bryan stand breathless and
relieved. The background sounds return to
normal, and the lighting remains the same
from the previous shot.

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Bryan, out of breath in a mid-shot, says That


was easy before turning around. The noise
and lighting is consistent.

Pigeuo and Bryan walk into the distance. The


background noises are slightly louder and it
looks as though they are talking to one
another. A strange hermit also crawls behind
them before stopping and gazing after
Pigeuo and Bryan. The camera then pans up.

From a distance, and silhouetted, we see


Pigeuo and Bryan sat on the bridge; Bryan
says Ha! That was a good day This is where
we see Pigeuo as being taxidermied. There
are evening insects/animals heard, and the
lighting gives the illusion of a setting sun.

We gradually move into a close up. Bryan


begins to tell his joke with an interjection
from Pigeuo that we dont hear. Crawl Out
Through The Fallout begins to play and Bryan
begins to laugh as the camera fades out.

Over the end credits, a variety of snapshots of Pigeuo and Bryan are shown. They are in a plethora of
situations and seem extremely happy.

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FINAL MOOD BOARD:

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MUSIC AND PERMISSIONS:


As I will be using copyrighted music, it is imperative that I seek permission from the record company
that confirms I can incorporate the songs.
It's the End of
the World as We
Know It (And I
Feel Fine), by
R.E.M
and
released in 1987.
This will play in
the dilapidated
office building, in
the background.
This will verbally
convey the post-apocalyptic scenario and give an impression of the devastation facing civilisation. I
contacted Warner Bros. Records2 to confirm this.
When defeating
the
SuperMutant, Pigeuo
and Bryan sing
Whats Up? by 4
Non-Blondes. I
could not find a
direct
e-mail
address
for
Interscope
Records3, so I will
contact their support team and hope that they can forward the question to the relevant bodies.
In the final
scene, and over
the end credits,
Crawl
Out
through
the
Fallout
by
Sheldon Allman
will play. I could
not find a clear
record label for
this song so I will
be contacting Bear Family Records as they released a compilation album on which this song featured4.

http://www.warnerbrosrecords.com/artist/rem
https://en.wikipedia.org/wiki/What's_Up%3F_(song)
4
http://www.allmusic.com/album/atomic-platters-cold-war-music-from-the-golden-age-of-homelandsecurity-mw0000354493/releases
3

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PRIVACY ISSUES:
Article eight of the Human Rights Act, 1998, states that individuals should be permitted to live their
lives with due privacy and without interference by the state5. Protected by this legislation are a
number of factors, all of which relate directly to the person and their confidentiality6:

THE RIGHT TO INDIVIDUAL SEXUALITY

THE RIGHT TO PERSONAL AUTONOMY AND PHYSICAL AND PSYCHOLOGICAL


INTEGRITY (The right to not be physically interfered with)

RESPECT FOR PRIVATE AND CONFIDENTIAL INFORMATION, ESPECIALLY THE


STORAGE AND SHARING OF THIS INFORMATION.

THE RIGHT TO NOT BE SUBJECTED TO UNLAWFUL STATE SURVEILLANCE

RESPECT OF PRIVACY WHEN ONE HAS A REASONABLE EXPECTATION OF


PRIVACY; AND

THE RIGHT TO CONTROL THE DISSEMINATION OF INFORMATION ABOUT ONES


PRIVATE LIFE, INCLUDING PHOTOGRAPHS TAKEN COVERTLY

As a producer/filmmaker I would engage article eight were I to investigate the sexual preferences of
a member of my cast or crew. This matter is not relevant to the project or the interests of anyone but
the individual and does not affect the persons professionality or ability to carry out their job. Likewise,
personal autonomy shall be respected at all times and there shall be no inappropriate touching etc.
occurring on set.
Information regarding employees (names, addresses, telephone numbers etc.) will be kept in a secure
location alongside their contract and any necessary medical information; if they should become ill
whilst filming or rehearsing, there will be documentation to say how they should be treated/indicate
the severity of their condition, at present. To prevent the loss of this data, it will be stored in a
protected hard-drive location. When recording, a binder will be kept on hand so easy reference can
be made, if need be. Following this, it will put in a safe, private location to ensure that it is not
misplaced or stolen.
Everyone on set will have their privacy respected to a reasonable level. When using toilet facilities,
etc., the individual(s) will be given suitable changing rooms and cubicles etc. with none of the
recording equipment or unrequired staff members present.
Moreover, any discussion/text messages/e-mails received regarding the private life of another will
remain confidential and privileged information between the recipient and the sender, unless explicit
permission has been given otherwise. In addition to this, any photographs taken outside of scheduled
shoots will remain private, unless publication has been agreed with the subject and photographer.
Anyone found contravening this legislation will be removed from the recording with investigation and
relevant legal action to follow.

https://www.citizensadvice.org.uk/law-and-rights/civil-rights/human-rights/what-rights-are-protectedunder-the-human-rights-act/your-right-to-respect-for-private-and-family-life/
6
https://www.liberty-human-rights.org.uk/human-rights/what-are-human-rights/human-rights-act/article-8right-private-and-family-life

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DEFAMATION:
The Defamation Act, 2013 notes that a statement is not defamatory unless;

ITS PUBLICATION HAS CAUSED OR IS LIKELY TO CAUSE SERIOUS HARM TO THE


REPUTATION OF THE CLAIMANT7

A number of items can be considered defamatory and are inclusive of8;

LOWERS THEM IN THE ESTIMATION OF RIGHT-THINKING MEMBERS OF THE


PUBLIC; AND/OR

CAUSES THEM TO BE SHUNNED OR AVOIDED; AND/OR

DISPARAGES THEM IN THEIR OFFICE, TRADE OR PROFESSION; AND/OR

EXPOSES THEM TO HATRED RIDICULE OR CONTEMPT.

Consequential of this is the risk of an order being executed which prohibits widespread distribution
and/or the removal of the offending statements9. This will limit the audience of the piece and, from a
business perspective, limit the chances of the production company breaking even or achieving a profit.
In the long term, this may cause the affected individuals to struggle to attain funding/backing for
future projects.
This can cause inevitable harm to the success and reception of the project, and the reputability of the
production company. As such, great care shall be taken to prevent characters from resembling any
person (living/dead) in a negative light. With The Adventures of Pigeuo and Bryan to potentially
feature satirical content, it is essential that substantial differences exist between the fictional and
actual realms, and that characters are not identifiable as being based on a specific human being.
Considering that influence will likely be drawn from fact-based sources, a disclaimer will be included
at the end credits. This will serve to indicate that there is a) no evidence to suggest that a certain
individual is being parodied or misrepresented and b) there is no ill intention or truth to any of the
activities they are seen partaking in. an example of this follows10;

This is a work of fiction. Names, characters, places and incidents either are
products of the authors imagination or are used fictitiously. Any resemblance
to actual events or locales or persons, living or dead, is entirely coincidental.

RACE DISCRIMINATION:
There are several branches to the racial discrimination issue, which are11;

DIRECT DISCRIMINATION (Treating someone less fairly based on their


actual/perceived race, or the race of someone who they are acquainted with)

INDIRECT DISCRIMINATION (Disadvantaging members of a certain race, often


through a rule that applies to the entire workplace, i.e. requiring GCSE English and

http://www.legislation.gov.uk/ukpga/2013/26/crossheading/requirement-of-serious-harm
http://www.bbc.co.uk/academy/journalism/article/art20130702112133651
9
http://www.legislation.gov.uk/ukpga/2013/26/crossheading/removal-etc-of-statements
10
http://tvtropes.org/pmwiki/pmwiki.php/Main/ThisIsAWorkOfFiction
11
http://www.acas.org.uk/index.aspx?articleid=1849
8

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37
maths excludes those from locations without these qualifications, unless
equivalents are accepted.)

HARASSMENT (Undesired conduct as a consequence of ones race)

VICTIMISATION (An employee is treated unfair for raising or supporting a claim


about raise discrimination) POLICIES SHOULD PREVENT RACE DISCRIMINATION
IN;

RECRUITMENT

DETERMINING PAY, AND TERMS AND CONDITIONS OF EMPLOYMENT

TRAINING AND DEVELOPMENT

SELECTION FOR PROMOTION

DISCIPLINE AND GRIEVANCES

COUNTERING BULLYING AND HARASSMENT

WHEN AN EMPLOYEE IS DISMISSED.

When hiring any cast/crew members, there country of origin/religion/etc. will be irrelevant.
Individuals will be employed on a skill and experience basis. In other words, successful applicants will
possess proficiency in their field and be able to fulfil their job role to a high standard, with a strong
knowledge of the industry and their subject. To prevent indirect discrimination, GCSEs, A-Levels etc.
and their foreign counterparts will be accepted when deciding who will fulfil what roles in the
production of The Adventures of Pigeuo and Bryan.
No form of harassment or racism will be tolerated on set. Anyone found engaging in behaviour such
as this will be removed from the set with a suspension of their contract being upheld until an
investigation proves or disproves this claim. This is a universal rule and will not be manipulated in
favour of a particular race.
Additionally, pay and training will be dictated by the level of the job and will be equal amongst each
person who fulfils the same role; a runner will earn less than a producer, say. Furthermore, promotions
will be decided based on personal performance and how well they are achieving their goals,
completing their duties and aiding the progression of production.
Any disciplinary action will be undertaken as a response to inappropriate actions or ineffective
working, not due to a crew member being of a certain ethnic origin. Likewise, when dealing with
grievances, those involved will have the indisputable option to discuss their stance, reasoning and
feelings relating to the situation.
From a moral perspective, The Adventures of Pigeuo and Bryan will not represent races in a way that
associates them with any pre-existing, or new, stereotypes12. Likewise, a definite and obvious effort
will be made to have a diverse range of characters, with a plethora of races/religions/ethnicities being
portrayed.

12

https://www.natcom.org/CommCurrentsArticle.aspx?id=972

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GENDER DISCRIMINATION:
The gender of a person in a protected characteristic and acting against a person because of this is a
form of discrimination13. Much like with the previous section, the following must not be dictated by a
persons sex14;

RECRUITMENT AND SELECTION

PROMOTION

TRAINING, PAY AND BENEFITS

REDUNDANCY AND DISMISSAL

TERMS AND CONDITIONS OF WORK.

When assembling the cast, equal opportunities will be afforded all genders. Like previously, potential
crew members will be considered on a skill/qualification basis, and not because of their sex. Similarly,
pay, training and promotions will be equal for those partaking in the same role. Any contraventions
will be met with corresponding disciplinary action.
Exceptions will arise when a job is gender specific15. For example, it would not be necessarily be
appropriate for a woman to provide voice talents for a 45-year-old male character and vice versa. In
cases such as these, claims of gender discrimination or bias will not be pursuable. As Bryan is intended
to a pubescent male with an unbroken voice, and Pigeuo a bird with an unspecified gender and
naturally high pitched vocals, females will be playing these roles, like Tara Strong portraying Ben
Tennyson in Ben 10 and so on.
Furthermore, in the interest of encouraging diversity and equality, a combination of sexes will be used
which seek to distance themselves from stereotypical representations. Women will not only be shown
as emotional, attractive and in need of protection, men will not only be portrayed as strong,
independent and pragmatic, for example16.

COPYRIGHT:
Copyrighting serves to protect creators from unlawful use of their work and wrongful crediting.
Essentially, there are two sections to this17;

Copyrightable Subject Matter (works that are covered by copyright law) and;

Rights Granted Under Copyright (the rights granted to copyright owners to


control the use of their work)

A plethora of creative products are covered by this law, inclusive of, but not limited to18;

LITERARY

13

https://www.gov.uk/discrimination-your-rights/types-of-discrimination
https://www.citizensadvice.org.uk/discrimination/discrimination-because-of-sex-or-sexualorientation/discrimination-because-of-sex/#h-victimisation
15
http://www.equalityhumanrights.com/en/advice-and-guidance/sex-discrimination
16
http://www.mediaknowall.com/as_alevel/alevkeyconcepts/alevelkeycon.php?pageID=gender
17
http://www.dmlp.org/legal-guide/what-copyright-covers
18
https://www.copyrightservice.co.uk/copyright/p01_uk_copyright_law
14

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39

SONG LYRICS, MANUSCRIPTS, MANUALS, COMPUTER PROGRAMS,


COMMERCIAL DOCUMENTS, LEAFLETS, NEWSLETTERS & ARTICLES ETC.

MUSIC

RECORDINGS AND SCORE.

ARTISTIC

ARCHITECTURE, TECHNICAL DRAWINGS/DIAGRAMS, MAPS, LOGOS.

SOUND RECORDING

MAY BE RECORDINGS OF OTHER COPYRIGHT WORKS, E.G. MUSICAL AND


LITERARY.

FILM

VIDEO FOOTAGE, FILMS, BROADCASTS AND PROGRAMMES.

Copyright law is broken when the work is copyrighted, unlawfully distributed, performed/shown in
public, making an adaptation and so on19. As such, to use any copyright material in The Adventures of
Pigeuo and Bryan, appropriate permissions must be sought. Not doing so could result indictment of
up to ten years and a fine or up to six months imprisonment and/or a fine of (up to) 500020. By
requesting the use of a song, say, the production will avoid expensive legal disputes and so on. By
seeking these early, back-ups can be established if the initial decision is rejected.
Moreover, by copyrighting the production, The Adventures of financial and intellectual protection is
awarded to the director and other required bodies. This will provide the exclusive right to21;

TO COPY THE WORK

TO ISSUE COPIES OF THE WORK TO THE PUBLIC

TO RENT OR LEND THE WORK TO THE PUBLIC

TO PERFORM, SHOW OR PLAY THE WORK IN PUBLIC

TO COMMUNICATE THE WORK TO THE PUBLIC

TO MAKE AN ADAPTATION OF THE WORK OR DO ANY OF THE ABOVE IN


RELATION TO AN ADAPTATION

As such, we are able to decide on the best ways to distribute and share the finished product, without
fear of it being done unlawfully or in a manner that does not correspond with the creative vision for
the piece.

POST-PRODUCTION:
Everything that is required shall be imported into a Premier Pro file and put into a sequential timeline.
Speech, sound effects and music will be introduced in the appropriate places once everything else has
19
20

http://libanswers.anglia.ac.uk/copyright/faq/78776
https://www.gov.uk/government/publications/intellectual-property-offences/intellectual-property-offences

21

https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/462194/Copyright_Designs_
and_Patents_Act_1988.pdf

London & Derby


Registered Address: 37 Calvert Street, Derby DE1 2RQ
+44 (0)7905 742 319

40
been laid down. Finally, I will insert opening titles and closing credits so that the viewer is aware of
the content, the music used and the locations etc. Should I work efficiently, this will be completed the
week following the 16th May.

BUDGET:
To accommodate for me running over schedule and having to change to my contingency plan at any
point, I will hire the equipment for two weeks so I am covered if I am unfortunate enough to
experience any delays or problems.
ITEM
Canon EOS 1200D DSLR
camera
Manfrotto Advanced Fluid
Tripod
Joker Bug 800 Watt lighting
kit.
Actors (Two leads, one
supporting)

Location (As this is a relatives


attic, I will not be charged for
its use and I will be using the
college studio to record sound)
Travelling
Accommodation
Food

Props

COST PER DAY/PER ITEM


22.00

TOTAL COST
308.0022 for the two weeks.

11.00

154.0023 for the two weeks.

90.00

540.0024 for the two weeks.

(Per-Hour)
Lead Actors: 188.00
each/376.00 for both.
Supporting: 120.00.
N/A

496.00 for the three required


actors for an hour.

4.30 for a day pass for one of


my actors.
N/A
3.00 a day for my own lunch.
1.40 for a pack of water for
the voice recording.

4.30

Wood: 6.99 a sheet/13.98


for two.
Wooden mannequin: 5.00
Play-Doh: 6.49
Fabric Pack: 28.74, inc. VAT
+69.28 For a visual artist (See Issues)

N/A

N/A
43.40

54.21

TOTAL COST: 1599.91


REVISED COST: 1669.19

22

http://www.hireacamera.com/en-gb/products/HAC00-01213-eos-1200d/
http://www.hireacamera.com/en-gb/products/HAC00-00242-advanced-fluid-tripod/
24
http://www.greenkit.london/product/joker-800w-kit
23

London & Derby


Registered Address: 37 Calvert Street, Derby DE1 2RQ
+44 (0)7905 742 319